In his book, The Philosophical Discourse of Modernity, and especially in the “Excursus on Leveling the Genre Distinction between Philosophy and Literature” (pp. 185-210), Jürgen Habermas criticizes the work of Jacques Derrida. My aim in this paper is to show that this critique turns upon itself. Habermas accuses Derrida of effacing the distinctions between literature and philosophy. Derrida indeed works to subvert the distinction between fictional and argumentative writing, but in doing so he works with the genres he is mixing. (...) It is Habermas’ own insistence on subordinating all genres to argumentative rationality that truly effaces these genre distinctions. (shrink)

This paper looks at the ways in which Mikhail Bakhtin had appropriated the ideas of Kant and of the Marburg neo-Kantian school. While Bakhtin was greatly indebted to Kantian philosophy, and is known to have referred to himself as a neo-Kantian, he rejects the main tenets of neo-Kantianism. Instead, Bakhtin offers a substantial re-interpretation of Kantian thought. His frequent borrowings from neo-Kantian philosophers (Hermann Cohen, Paul Natorp, and others) also follow a distinctive pattern of appropriation, whereby blocks of interconnected ideas (...) are removed from their original context, and made to serve Bakhtin’s own—substantially different—philosophical purposes in the context of his own thought. Bakhtin’s thought thus remains original even as he is borrowing ideas from others. (shrink)

Søren Kierkegaard’s influence on the thought of Mikhail Bakhtin has received relatively little attention from Bakhtin scholars (and hardly any attention from Bakhtin scholars in the English-speaking world). Yet, as I argue in this paper, Kierkegaard was among the most important formative influences on Bakhtin's work. This influence is most evident in Bakhtin's early ethical philosophy, but remains highly relevant in later periods. Reading Bakhtin as a follower and developer of Kierkegaard's fundamental philosophical insights provides us with a key to (...) the unity of Bakhtin's thought. (shrink)

The distinction between the semantic content of a sentence or utterance and its use is widely employed in formal semantics. Semantic minimalism in particular understands this distinction as a sharp dichotomy. I argue that if we accept such a dichotomy, there would be no reason to posit the existence of semantic contents at all. I examine and reject several arguments raised in the literature that might provide a rationale for assuming semantic contents, in this sense, exist, and conclude that Ockham’s (...) razor should be applied to these postulated entities. Since the notion of “semantic content” doubles both as what a semantic theory is a priori supposed to account for and as the product of that same theory, it is methodologically unsound to appeal to this notion to fend off criticisms of and counterexamples to semantic theories. (shrink)

Is there, according to Bakhtin, such a thing as nobody’s or neutral words? Going over Bakhtin’s writings we might encounter an intriguing variety of answers to this question, ranging from a clear negative – there is no such thing – to a radical positive – all words are neutral, are “nobody’s” – and with a few other variants in between. This paper examines this puzzle both in its own right and from the perspective of what it can teach us about (...) reading Bakhtin’s texts. I propose that Bakhtin’s conception of language has remained stable (even if not quite unchanged) in works from all periods, and link this conception to his early ethical philosophy (with an emphasis on the influence of Søren Kierkegaard on it). Bakhtin is firmly committed to the position that nobody’s words exist only in the abstract world of theory, and not in language as we speak it. This description also pertains to his own writing, which I maintain should be approached with a view to how other people’s voices are manipulated in it, rather than in the more literal fashion, in which scholarly works are usually studied. (shrink)

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical approach. Bakhtin often (...) draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

A central finding in experimental research identified with Embodied Cognition (EC) is that understanding actions involves their embodied simulation, i.e. executing some processes involved in performing these actions. Extending these findings, I argue that reenactment – the overt embodied simulation of actions and practices, including especially communicative actions and practices, within utterances – makes it possible to forge an integrated EC-based account of linguistic meaning. In particular, I argue: (a) that remote entities can be referred to by reenacting actions performed (...) with them; (b) that the use of grammatical constructions can be conceived of as the reenactment of linguistic action routines; (c) that complex enunciational structures (reported speech, irony, etc.) involve a separate level of reenactment, on which characters are presented as interacting with one another within the utterance; (d) that the segmentation of long utterances into shorter units involves the reenactment of brief audience interventions between units; and (e) that the overall meaning of an utterance can be stated in reenactment terms. The notion of reenactment provides a conceptual framework for accounting for aspects of language that are usually thought to be outside the reach of EC in an EC framework, thus supporting a view of meaning and linguistic content as thoroughly grounded in action and interaction. (shrink)

One may distinguish between three broad conceptions of linguistic meaning. One conception, which I will call “logical”, views meaning as given in reference (for words) and truth (for sentences). Another conception, the “monological” one, seeks meaning in the cognitive capacities of the single mind. A third, “dialogical”, conception attributes meaning to interaction between individuals and personal perspectives. In this chapter I directly contrast how well these three approaches deal with the evidence brought forth by fictive interaction. I examine instances of (...) fictive interaction and argue that intersubjectivity in these instances cannot be reduced to either referential-logical or individual-cognitive semantic notions. It follows that intersubjectivity must belong to the essence of linguistic meaning. (shrink)

This paper outlines and demonstrates the viability of a consistent dialogic approach to the semantics of utterances in natural language. Based on the philosophical picture of language as dialogue, adumbrated by Mikhail Bakhtin and incorporating work in conversation analysis and cognitive-functional linguistics, I develop a method for analyzing both the function and the content of human utterances within a unified philosophical framework. I demonstrate the viability of this method of analysis by applying it to a brief conversational exchange (in Hebrew), (...) which is analyzed here in full detail. (shrink)

Studies of the origins of Mikhail Bakhtin’s thought have tended to either follow a traditional intellectual history paradigm—where establishing the presence of an influence is taken to be a sign of Bakhtin’s identity as a thinker—or to view terminological and conceptual borrowings in Bakhtin’s work as mere veneer in which he dressed his own ideas to make them publishable or acceptable to his peers in a hostile political and intellectual environment. And while Bakhtin did absorb some genuine formative influences, and (...) did use some terms and ideas as mere masks, a much more interesting and unusual pattern of appropriating others’ voices is evident in, and typical of, Bakhtin’s writings. -/- In this talk I illustrate this pattern of appropriation by looking at three examples, all related to Bakhtin’s early philosophy (where the use of “masked” writing was not yet necessary), and both involving Kantianism and neo-Kantianism (cited by many as major influences, in the traditional sense, on Bakhtin). The first of these examples is the way in which Bakhtin reinterprets Kant’s “Copernican revolution”. The second is the way in which Herman Cohen’s account of God’s uniqueness in monotheism is reflected in Bakhtin’s early ethics. The third involves a passage in Paul Natorp’s book Sozial-Idealismus as anticipating Bakhtin’s views on language and dialogue, but within a philosophical context Bakhtin rejected. All these examples (and many others) demonstrate the way Bakhtin, from the outset, works with the voices and ideas of others. Bakhtin’s approach—I shall argue—is not so much that of a scholar examining the claims made by his predecessors, accepting some and rejecting others, but rather, is akin to that of a composer, who integrates and combines motifs and passages adopted from others’ works into the fabric of his symphony, where they acquire new meaning in a new context. (shrink)

There are several linguistic phenomena that, when examined closely, give evidence that people speak through characters, much like authors of literary works do, in everyday discourse. However, most approaches in linguistics and in the philosophy of language leave little theoretical room for the appearance of characters in discourse. In particular, there is no linguistic criterion found to date, which can mark precisely what stretch of discourse within an utterance belongs to a character, and to which character. And yet, without at (...) least tentatively marking the division of labor between the different characters in an utterance, it is absolutely impossible to arrive at an acceptable interpretation of it. As an alternative, I propose to take character use seriously, as an essential feature of discourse in general, a feature speakers and listeners actively seek out in utterances. I offer a simple typology of actions in discourse that draws on this understanding, and demonstrate its usefulness for the analysis of a conversation transcript. (shrink)